Cher Public

Wo ist Salome?

chambersKirsten Chambers will make her Met debut in the title role of this evening’s performance of Strauss’s Salome, replacing Patricia Racette, who is ill,” says the Met’s press office.

  • Sanford Schimel

    She is just gorgeous.

  • LMacbeth

    Is this the next best the Met can do in casting the role? She has as much menace and sex appeal in her as Paris Hilton on good behavior. That and an utterly unmemorable and underdeveloped voice reminiscent of a second year conservatory student who ought to be singing -ina/soubrette roles at the most.

    • southerndoc1

      Who else is available that you would prefer?

      • LMacbeth

        I am not privy about who is available and when and who is not. So, how about cancelling the performance or, even better, cancelling the whole run since the house couldn’t secure substitution Salomes worthy of the work or the reputation of the house?

        • Greg Freed

          You paying to refund everyone’s tickets? Or are you just eager to see the Met close its doors?

          • LMacbeth

            If the Met at some point in its life is forced to close its doors, it’s certainly not because of moi, dear.

        • Kullervo

          They should cancel an entire run, directly taking money out of the pockets of the rest of the cast members, because some phony notion of the Met’s “reputation” is in jeopardy over a mediocre lead?

          This takes opera-fan narcissism to a whole new level.

        • La Cieca

          How about burning down Lincoln Center?

          • LMacbeth

            Might as well considering how disheartening things are going. Anna alone can’t save the house from burning, you know.

            • La Cieca

              Watch the tone.

  • Krunoslav

    She was the weak lyric soprano undersinging FRIEDENSTAG w/Botstein and the ASO this Fall.

    • Darrell Standing

      http://newyorkclassicalreview.com/2016/10/asos-revival-of-krenek-and-strauss-operatic-rarities-proves-timely/

      Perhaps you should read this ~ do you actually accomplish anything yourself or just snipe at those who do ????

      • Krunoslav

        Perhaps you should shut the fuck up. I was at that concert and I heard her performance, which under the last minute circumstances may have been brave, but was neither accomplished nor promising.

      • PCally

        One semi-positive review is the be all and end all? This review more or less confirms what the reservations in these comments have been. I was also at that concert (were you?) and she was audibly struggling throughout much of the evening. She’s a lyric with some heft and nothing about her singing demonstrated qualities that would make her a Salome of note. Jumping in at the last minute is a respectable and brave thing to do but it’s also a base level requirement for this profession. It doesn’t mean an audience is supposed to pretend that the performance is something special when it isn’t. And krunoslav is hardly the principle sniper around here.

      • MisterSnow

        Donnie Ray Albert is still singing?!?! I remember him as Porgy in the HGO Porgy & Bess in the 70s. You go dude!

      • quoth the maven

        One observation I would make about that review: the writer doesn’t really know how the music business works. When a cover goes on at the last minute, it’s not “a rare feat of quick study and preparation.” She has been hired to prepare the role, and has presumably put a commensurate level of work into its preparation as the scheduled artist has.

      • Is Krunoslav not entitled to his opinion of the performance?

  • Gualtier Maldè

    Watching the clip, I keep seeing this as the “Trump Tower” Salome -- like the Peter Sellars “Trump Tower” Nozze. Salome as Ivanka, the Don as Herod and Ivana as Herodias.

  • Apulia

    does not look (er, sound) promising

  • Cameron Kelsall

    A friend of mine was there last night. He bought tickets specifically to hear Racette but knew of the cast change ahead of the performance. I don’t think he would mind me sharing the brief thoughts he sent me:

    “think katherine jenkins sings salome. barbie doll look, no acting ability whatevr, atrocious german. voice could project above the staff hollow in the middle no chest voice for the low bits. big hand anywy i think cuz the jokes landed and the campy paris hilton vibe wrks w/the production. zelko soundd good despite pitch problms. honestly he ws the only lead who soundd anythng like a world class exponent of role. not the expectd train wreck but also who goes to salome expectng stepford wife vibes in the title role?”

    • Bill

      Cameron -- your friend generally hits the nail on the head.
      Kirsten Jenkins was vocally an unattractive Salome audible on high but with a weak middle voice and not very steady throughout the range. Her German, such as it was, was hard to understand- she had some Bravos at the end and more than reasonable applause but Met
      audiences are usually generous to singers filling in. Jenkins is not a soprano I should care to hear again. Zeljko Lucic sounded better amplified from the cistern but once on the stage was not always on pitch and his voice was not particularly sonorous without the amplification. Fabiola Herrera had some good high notes, Kang Wang a reasonably good Narraboth -- but for me the entire performance seemed to fall flat, hardly a memorable evening at the Met and the set
      seemed tackier than I had remembered when Mattila did it in 2004. .

      • PCally

        I remember loving the production the year it premiered but it was already looking pretty dated in 2008. I could imagine that with a special soprano (like mattila in 2004 and 2008) that’s easy to overlook. Jenkins isn’t that soprano it would seem. Her repertoire is ridiculous for a voice that (based on my one hearing) is smaller than most of the notable spintos singing currently.

        • Bill

          PCally -- I have seen 28 performances of Salome in my life with at least 20 different
          Salomes beginning with Goltz. I have only seen a few Salomes more than once,
          Rysanek the most often, Silja, and Jones.
          I had the good fortune to miss Maria Ewing.
          And obviously now I have missed Racette
          as Kirsten Jenkins sang in her stead. But
          as memory serves me Kirsten Jenkins was
          vocally probably the worst and the unsteadiest. She had a few good notes
          here and there but could not sustain
          a string of attractive notes. She is attractive and womanly and if she had not rehearsed on the stage or with the full orchestra, it could not have been easy for her to make her Met debut in a role
          which commands the stage throughout the entire opera, but without an alluring voice
          I cannot imagine her singing Ariadne,
          Arabella, Isolde and some of the other
          roles in her repertory. I just do not think her voice is steady enough.

          --

      • Krunoslav

        “Zeljko Lucic sounded better amplified from the cistern but once on the stage was not always on pitch and his voice was not particularly sonorous without the amplification.”

        Funny, opening night I thought the opposite, Bill. The amplification made the wobble and flatness worse…

        Ewing is the only Salome I’ve seen more than once-- riveting performance, almost no voice at all. Her colleagues were very fine: Leonie, Robert Tear and Tom Fox, Mark Baker; Runnicles, Franz Hawlata and Earle Patriarco as outstanding Nazarenes. San Fran 1993.

        My other Salomes, a rather mixed bunch with a few very good efforts.
        Maralin Niska
        Gwyenth Jones
        Karin Loyee
        Sue Patchell
        Anne Williams-King
        Karita Mattila
        Stephanie Sundine
        Nina Warren
        Jayne Casselman
        Elizabeth Byrne
        Sylvie Valayre
        Amy Johnson
        Mlada Khudoley
        Camilla Nylund
        Alex Penda
        Patricia Racette

        • PCally

          I’ve been lucky with Salome because I’ve only seen three lol. Nielsen and Mattila were both astonishing and Denoke acted brilliantly and while it was well below par vocally, at the time I saw her it was quite possible she was the Salome of choice (Idk if stemme had started singing it). Suprised about the Ewing comment. Based on the video, I find the interpretation to be pretty grotesque, though it might be another thing to have seen it live.

          • PCally

            Forgot about lindstrom who was also good

  • marshiemarkII

    Weeeeell Ms Marshie was theeeeeere last night, and it was truly one of the most execrable nights at the Met in a long time. The girl opened her mouth and out came a mush of tiny sounds and it never got better. It was shocking that a voice that would not have projected as Despina was singing Salome! at the Metropolitan Opera! I kept imagining Oropesa would have projected better, Natalie Dessay would have projected better, Kathy Battle would have projected better, well you catch my drift, none of these girls would be under anybody’s definition of Hochdramatischer by any sane person, but I have heard them all project right to my ear better than this hapless lady. To her credit, she managed to finish the performance, albeit making some weird sprechstimme sounds in the final lines. The applause was very subdued but from a noisy group near or thereabouts the standing line….. and all those inaudibility issues were in a performance conducted by an imbecile that robbed the glorious luxuriant and intoxicating Richard Strauss score of any life, forward momentum, or passion. Because, what would you know, he was trying to make Strauss sound like Satie (yes I love Satie! but I also love Strauss as Strauss), so it would sound like a chamber piece. Not only it was devoid of the expected magnificent bombast, which is part and parcel of Salome, but the phrases were all glossed over, the grand luxuriant lines, the intoxicating waltzes, all smothered over and made a series of disconnected disembodied “light” sounds. A hideous travesty, and that unfortunately cannot be blamed on the hapless soprano. A shameful night at the Met! It totally erased the memories of the 4 performances of Manon Lescaut that I saw with the divine Anna, which for a short while made me forget that we live in a wasteland of art and culture.

    • La Cieca
      • Alexa DuChampignon

        Projecting much, moron? Again, this site is nothing but a head female dog and her pack making moronic comments to everyone. No wonder people alerted me not to post on here. I’m out of here and avoiding any organization that advertises on here, you are all very sick in the head. BIIIIIIIEEEEEEEEEE!!

    • Rosina Leckermaul

      I wonder if the conductor was compensating for an unrehearsed tiny voice in the title role. These reviews remind me of the period in the early 60s of lyric Salomes at the Met -- Jane Rhodes (anyone remember her?) and Brenda Lewis.

      • Liz.S

        I don’t think that was the case re: the conductor. His take was peculiarly “reserved” or lack of propulsion -- similar to what MMII described -- to my ears even on the 1er night broadcast. Some of us in the chatroom were hoping things could improve for the young maestro who may not have gained full assurance with the orch in later perfs (it’s hard to imagine that sort of smothered style can be what any Strauss conductor would actually intend to deliver… can it…??)

      • marshiemarkII

        Well thank you carisssima Liz.S since I know you for a long time as an expert on conductors, so this means a lot to me. And full disclaimers first, I knew nothing about this conductor, and had read two or three reviews that were largely backhanded compliments, but nothing terribly negative, so did not have any predisposition one way or the other. I did have a rather negative predisposition to the official Salome, since I had seen a truly horrible Nedda ;last year, thin shrill and nasty, and could hardly begin to comprehend what she’d do with this most magnificent role, so again I went in rather open minded about the replacement, as “she couldn’t be worse”, but helas, she probably was……

        With respect to the conductor, it was most definitely not just the attenuated sound of the orchestra, even Levine has done that sometimes for certain singers (think Stratas :-)), but the complete shapelessness of all the grand phrases, as if he was deliberately sabotaging the tradition and overheated spirit of the piece. When something like nichts in der Welt ist so weiß wie dein Leib passes by, and you only realize it’s occurred because the soprano nearly choked on the B, and off we continue, or when the sublime and portentous trauermarsch in the Seven Veils sounds like a lighthearted little scherzo, then we know we have a serious problem here. Regarding the lack of rehearsal that cara Rosina raises, it is possible of course that they didn’t get many chances, but the coordination stage-orchestra was unremarkable, until the final scene when from den Kopf des Jochanaan holen till the end they were in separate worlds, either behind or ahead but hardly ever on the beat, it was maddening. So I conclude that the guy is most very definitely not ready for prime time.

        And you know cara Liz.S,eventhough I know this score as well as any of my favorite operas, I have rarely seen it with truly great conductors live, namely Conlon (foursquare and prosaic), Ozawa (appropriately rhapsodic but superficial) Eschenbach (lyrical and beautiful but lacking gravitas) and perhaps the best Pekka-Salonen. But then again I grew up with the breathtaking recordings with von Karajan and Dr Karl Bohm.

        • Liz.S

          Thank you MMII for sharing your thoughts and sorry I’m responding this late. This page was becoming a scary lair for a while (thank God now I see the comment calling us stupid is deleted :-)
          I love and respect all maestre you listed (Karajan and Böhm are very dear to me also -- we are essentially brought up musically by them, no? :-) As a today’s Strauss conductor, I’d like to add Franz Welser-Möst. I didn’t “get” him for a long while (even back when he did Salome with CLO @ Carnegie) but his deep insight and the way he carefully curve or shape the music with the perspective of the entire piece in mind (instead of just focusing on the immediate passage) is something I came to appreciate in recent years.

          BTW I think the young maestro did far better of a job today (at least that peculiar suppression was not much around.) He may not be one of those astonishing geniuses that wows everybody from the get-go but we’ll see -- I’m curious to hear some more outings :)

      • I mentioned Jane Rhodes when I wrote about Salome last week. I saw her AND Brenda Lewis. But enough of me.

        I see on this thread all the scum has come out, from the idiot Behrens freak to I think the lady herself (“Alexa” etc). I noticed on Facebook yesterday that a singer I know and some of his friends were all atwitter and bethrilled about this lady — likely they are the same age as she. They were all going to go. Nothing today. Hmmm….

        I rarely read anything here that is realistic about what professional conductors do. Having known a fair number and been to a lot of rehearsals (and having played rehearsals for conductors and done some conducting myself learning the easy way that an idiot on the Internet is unlikely to know anything at all about it, and that I certainly couldn’t do it) I take ALL the horseshit with a giggle and gasp.

        Stupidity have ye always with ye. I actually haven’t seen any of the usuals (defined as those I read regularly) being truly mean about this lady, the psychotic ax-grinding freak to one side (that prolapsed rectum is like — well, a prolapsed rectum. It’s hard to look away.) To think this might not have been really good luck for her is hardly to wish her ill.

        Whether the You Tube is a good or fair representation of her at her best, it doesn’t carry the promise of great accomplishment especially since it is recent, as “Wagnerliebe” (probably her manager) averred. I assume manager because someone who knew more about singing than Labia Foulds (my Commonwealth name) would have caught immediately the poor girl’s super tight jaw and tense tongue, choking off the sound, making vowels unclear, and causing problems in tuning precisely or even within a professional variation.

        And the Behrens moron praises a poster I’ve only seen say …….. Why not? Grubs of the same diseased intestine…

        Oh well, one of better balance might praise La Cieca’s forbearance as damn him/her for the limits of those who exploit this site for their self-aggrandizement as I do — understanding that not much grandeur can come of it. (But a queen and/or martyr always carries her OWN crown! To the flames!!!!!!!!!)

  • Sanford Schimel

    Off topic, I’m listening to the otherwise gorgeous album of Mozart sung by Sabine Devieilhe. The first track is Et Incarnatus Est. But the track is longer than it should be. Sure enough, after the end of the aria is an entirely different piece from a different work altogether. Weird.

  • Cameron Kelsall

    Question now is: will the Met line up an emergency cover for Saturday’s matinee broadcast? And if so, who would that even be?

  • Alexa DuChampignon

    Speaking of appropriate for the Met or not, isn’t there a reduced orchestration of Salome in French? How would that work at the Met? Thoughts?

    • La Cieca

      I’m sure the 150 people a night who packed the auditorium would find much to enjoy.

      • Alexa DuChampignon

        No doubt! I would, just to hear it for sure!

  • Gualtier Maldè

    I also heard the FRIEDENSTAG and thought Chambers was promising but overparted. The upper register was good and reliable but the middle weak and generic. She, like Erika Sunnegardh and Lise Lindstrom (who is way more accomplished) is a big lyric with a very loud top masquerading as a hochdramatisch soprano.

    My thoughts about Chambers was that she would benefit from a Fest contract with a good German theater and concentrate on blonde maiden roles like Elsa, Eva, Elisabeth, Agathe and lyric Strauss roles like Arabella and Daphne while improving her German language skills and style. There’s good material there -- good instrument with strong top though not distinctive and good looks and good musicianship. Needs to sing roles a size or three smaller than Salome and Turandot (which is in her rep).

    Also I think that Tamara Wilson canceled far enough in advance that Chambers got full orchestral rehearsals with Botstein. It was a nervy, game performance as Maria she gave.

    A friend was also at the “Salome” and gave a capsule review that I don’t think he will mind sharing anonymously: “Great top. Dodgy bottom. Missed dance steps (she’ll get a pass on that tho)”

    Sounds about right.

    • Kullervo

      You don’t just ‘get’ a fest contract with leading roles at a ‘good German theater’ and decide to ‘concentrate on blonde maiden roles’ so that you can improve your language and musicianship skills all the while, simply because you have ‘good material.’ You’re playing fantasy football.

      • Alexa DuChampignon

        Loosen up, Kullervo. Gualtier’s opinion in his fine post is that Chambers would benefit, not that she would “get” or even was entitled to the roles described. Simmer down and take whatever you can to relax.

        • Kullervo

          Nah I don’t feel like backing down on this.

          Gaultier’s opinion can essentially be boiled down to “I think she would benefit from having a bigger career.” Getting a fest contract in a ‘Good German Theater’ singing Eva, Elsa, Elisabeth, Agathe, Arabella and Daphne isn’t some sort of career stopgap -- it’s an extremely ambitious achievement.

          • Alexa DuChampignon

            No doubt! But I read his post differently. I see it as: fest contracts afford you the opportunity to focus on your craft, improve upon it and do so in an environment that is not singing in a 4,000 seat barn. But hey, I don’t have a dog in this race, I’ll let Gualtier defend himself.

            • La Cieca

              She’s only sung in a 4,000 seat barn once. And, as Kullervo points out, Fest contracts don’t exactly grow on trees, and even if one should get an offer, a Fest is not a young artist program focused on nurturing the whole artist. It’s a very demanding job focused not on process but product. You don’t get to say, “oh, I’ll just wait until you have a blonde maiden role for me.” You sing what you’re assigned to sing, and if say “no” often enough to piss off the GD or the GMD, you’re out of a job and out of pocket for your airfare home.

              We had a great repertory company in New York, just the sort of place where an early career singer could grow as an artist, but a decade of neglect while it’s general manager swanned around Cooperstown twirling his bow tie and the Board sat on their fat asses doing exactly nothing destroyed that company as surely and as effectively as arson. New York City is supposed to be the greatest city in the greatest country in the world, but when opera singers need polish, our solution is “Oh, send them to Ulm for few years.” Fucking bullshit.

          • Gualtier Maldè

            I don’t think that Chambers is without voice or without talent. She has sung at the Met but she has also sung Elsa in Lohengrin in Savolinna, Hong Kong Festival and Opera de Rennes. She got some good reviews for it.
            http://www.kirsten-chambers.com/press
            Here is her repertoire:
            http://www.kirsten-chambers.com/repertoire
            This shows she already has some of these roles in her repertoire as well as things like Isolde and Brunnhilde she really shouldn’t touch for many years.

            So yes, I think that maybe some good coaching from someone like Brigitte Fassbaender or Hilde Zadek and work in a medium size German house would benefit her. I don’t think you heard this performance live Kullervo? Did you hear the Maria in “Friedenstag”? I did.

            • Krunoslav

              “coaching from someone like Brigitte Fassbaender or Hilde Zadek”

              http://4.bp.blogspot.com/-qbAKWyvChsw/T4Not5GsYMI/AAAAAAAAAJ0/qW_doLaYBIw/s1600/klebb1.jpg

            • Luvtennis

              How much is this woman paying these people? One of them has to be her. The reference to the Pharisees was a dead give away….

            • Kullervo

              …alrighty then. I said elsewhere that I didn’t want to go into an in-depth analysis of this lady, but as the saying goes: “…they pulled me back in.”

              Her career is actually more than a ‘little over two years in.’ According to this:
              http://news.nsula.edu/home/keith-kirsten-chambers-to-perform-april-14

              She was in the Shreveport Opera young artist program in the 2006/7 season. But even without that level of sleuthing, just bothering to look at the website you linked with a little more scrutiny reveals she was covering Turandot at Arizona Opera in 2011.

              None of this is to say that she *can’t* get a fest contract singing the roles you think would be good for her; what you aren’t grasping is getting one would be a bigger accomplishment than anything she has achieved in her career thus far, so wistfully suggesting that it would be ‘good for her’ to get a full-time, leading role contract (not even a Erste Dame/Fifth Maid/Ortlinde fest contract) in a mid-size German house is, yes, equivalent to saying: “a good career move for you would be to have better engagements.”

              No, I didn’t see the ‘Friedenstag.’ I’d rather gargle broken glass than listen to Botstein conduct anything.

            • Gualtier Maldè

              So you are backing off to say that she *can* get a fest contract whereas before you were suggesting that she wasn’t deserving or worthy to even try.
              Quote: “what you aren’t grasping is getting one would be a bigger accomplishment than anything she has achieved in her career thus far”
              I dunno I think covering a star leading role at the Metropolitan Opera and performing it kind of beats a fest contract in Ulm or Wiesbaden… There was also that little Hong Kong Festival thingie.
              Kullervo you haven’t heard her live, I have. Your opinion and attitude are just that -- no better or worse than mine or anyone else’s.

            • Kullervo

              “whereas before you were suggesting that she wasn’t deserving or worthy to even try.”

              I never suggested anything of the sort and I have no interest defending something wholly in your head.

              “I dunno I think covering a star leading role at the Metropolitan Opera and performing it kind of beats a fest contract in Ulm or Wiesbaden… ”

              Here are a couple sopranos with fest contracts for leading roles at mid-size German houses:

              http://operabase.com/a/Vida_Mikneviciute/17541

              http://operabase.com/a/Betsy_Horne/2147

              Covering and getting to jump in for a single performance on six hours notice at the Met beats THAT?

    • ducadiposa

      Glad Sunnegardh was mentioned. I know she’s another of Parterre’s bete noirs ( ;) ) but when she sang Salome in Toronto 3-4 seasons back I thought was extremely impressive. Her sound projected very well throughout her range and she looked and acted the role magnificently. Wonder if the MET ever considered her after the original singer cancelled? Maybe she wasn’t available. Those performances were conducted by the COC’s music director Johannes Debus, the very same conductor of these MET Salomes. I’m surprised at the generally negative attitude to his conducting I’ve been reading, mostly on this thread but also in some reviews. In general, just about everything he does with the COC [usually three productions per season] is universally praised by the major newspapers and bloggers in our parts. For his MET debut I’ve been reading some quite disturbing barbs directed at his youth/slight physical stature etc. It’s the sort of thing people would have their knuckles rapped for if directed at a woman [usually in the opposite direction -- ‘she’s too old and fat!’]. Interesting how the opposite type of objections are turned around when it’s time to critique a conductor. It’s as if our ‘image’ is that they should be old men who don’t really look that fit! I don’t know, it’s just an observation. Debus will soon be back in Toronto to conduct the last of our Ring operas -- Gotterdammerung [with Goerke who has debuted all her Brunnhildas here] having led the previous two as well as Tristan a few seasons back. Previous to coming to Toronto he was a house conductor at the Frankfurt Opera for a while and still conducts as a guest there. I too am wondering if Racette will be back for tomorrow’s matinee -- will listen in and see!

  • Wagnerliebe

    The comments in this article seem to indicate that many of you truly inconsequential. After hearing this performance, it is one of the healthiest and lyrically sung Salome evenings I have heard.

    The top is huge when she chooses to unleash — and because unlike other sopranos who must always scream the high, she actually has ability to control her dynamics, even in her high range.

    With this approach to singing, the career can last well into her late 60’s — longevity is important — not just to push and scream to satisfy a motley group like you people.

    Lastly, it would seem one would want to see new voices in this Fach — and be encouraging — instead of sitting idly by as a bunch of Pharisees who could never do it themselves.

    • grimoaldo2

      ” a bunch of Pharisees who could never do it themselves.”
      No, I could never sing Salome, that is true, but as Dr Johnson said
      “You may scold a carpenter who has made you a bad table, though you cannot make a table. It is not your trade to make tables.”
      I have no opinion on this particular singer, having never heard her.

    • Luvtennis

      Ummmm no.

      The voice doesn’t project anywhere but at the top -- the rest is swallowed or stuck in her throat. The timbre in the clip above is hard and forced and tense. She belts and the legato is limited -- which may be due to nerves -- but the approximate pitching is disturbing, and there are moments when the voice sounds like it is about to come off the rails. Maybe, it was a bad night…. But she IS supercute in a Chenoweth way. Love la Chenoweth by the way.

      • Wagnerliebe

        The clip above is from 2014 — but nice try. Sounds very FORWARD and healthy — which leads to longevity.

        And anyone who starts a response with “Ummmm no” decidedly speaks of intelligentsia.

        • Luvtennis

          Whatever. Is that “intelligentsia” enough for you? Are you her agent?

          Relax. Why would I have an axe to grind against this woman. I expressed an opinion. Do you HONESTLY think that you can shame me out of it?????? I wish her the best.

          But really, I think I have listened to enough voices to trust my own opinion. Thanks though! ????

        • quoth the maven

          Just what do you think “decidedly speaks of intelligentsia” means? Considering your own writing style, you are in an odd position to criticize somebody else’s written diction.

        • PCally

          Pretty strong overeaction to some comments about a woman’s voice. If you like her singing in this music, good for you. But I’ve seen this women live and she wasn’t underwhelming and audibly struggled much of the evening. I think the clip posted here sounds shallow and forced. Your entitled to your opinion but frankly the tone and hyper aggressive attitude is a bit much.

      • Rosina Leckermaul

        Now there’s a thought. Chenoweth as Salome. Her scheduled Met debut was cancelled. This may be the chance for the Met to get her back. It would be interesting!

    • quoth the maven

      I’m wondering what you mean by “inconsequential.” Perhaps you intended another word.

  • QuantoPainyFakor

    Does anyone know the name of the people/person who runs this website: http://operawire.com/

  • berkeleygirl

    Who’s idea was it to hire her, even as a cover? After researching her career to date, Ms. Chambers doesn’t seem anywhere close to being ready for the Met. In fact, she appears to have had more cover gigs than actual lead performances. One giveaway is her rather lengthy list of roles with zero mention of dates/companies. A more professional singer would note which operas are prepared but not performed.

    As a former singer myself, my heart aches for Ms. Chambers. It can be an early career-ender when a singer is miscast in an important venue. (Yes, I speak from experience.) Adding to the misfortune is that she seems to be getting very questionable career advice. I’m reminded of an audition I overheard, while waiting for my own, some years ago. A soprano was singing Queen of the Night -- clearly a lovely full lyric soprano who, probably because she had an extension, was told she should sing the Konigen. As I listened to her come to grief in the coloratura and top Fs, I thought -- this young woman should be singing Pamina. When she came out, clearly disappointed, her agent told her she was fabulous. I wanted to scream at him as he was clearly giving her bad advice. Just because you can doesn’t mean you should…

  • Sven Edward

    I have found the antidote:

    https://youtu.be/yDWRq5y8QBk